In John Akomfrah’s fifty-three-minute, three-channel film installation .
The Airport(2016), the main character is really a besuited and helmeted astronaut, whom, at various moments, is observed through his helmet visor to become a man that is black. He wanders via an abandoned airport in Athens, comingling with waiting people in Edwardian garb along with those who work in postwar 1950s fashions. The anachronism of those tourists, all stranded when you look at the spoil of the transport hub, recommends the uncertainty due to the exodus of money through the Greek economic crisis that started in 2010, as well as older histories of migration. Akomfrah contends that the airport is a website of both futurity and memory. The film, relating to Akomfrah, explores “the sense that there’s an accepted spot that one may get where you’re free of the shackles of history. The airport can are a symbol of that because it’s a type or type of embodiment of national—maybe even personal—ambition. The room where trip, or desires, or betterment, sometimes happens.” 18 Akomfrah’s astronaut moves not just between areas but between eras—one of their sources for The Airport’s palimpsest of historic sources ended up being Stanley Kubrick’s 1968 film 2001: A Space Odyssey, whose concluding sequence that is“stargate the astronaut Bowman existing in a variety of moments associated with the past and future simultaneously. Cultural theorist Tisa Bryant has stated of afrofuturism it is “about room in the literal that is most of terms, simply real room, a continuum of boundary-less area where there was encounter and change across time.” 19 Though these vectors across area and time frequently have related to colonial legacies of slavery while the passage that is middle afrofuturism can also be a lens through which to refract unresolved modern battles of domination and repression, and a quarrel for similarly distributed resources. Read more